Literatura académica sobre el tema "Drama – Therapeutic use"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Drama – Therapeutic use".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Drama – Therapeutic use"
1
Khoo, Guan Soon y Mary Beth Oliver. "The therapeutic effects of narrative cinema through clarification". Aesthetic Engagement During Moments of Suffering 3, n.º 2 (13 de diciembre de 2013): 266–93. http://dx.doi.org/10.1075/ssol.3.2.06kho.
Texto completoResumen
Media psychologists have found no empirical support for catharsis as emotional venting or purgation. However, the concept persists in the humanities and everyday use, particularly in beliefs about the presumed effects of catharsis on well-being. This study adjusts the conceptualization of catharsis to include a cognitive aspect, i.e., the clarification of emotion, and examines the health outcomes of the combination of exposure to drama and drama-induced self-reflection. An experiment (N = 152) was conducted to compare the therapeutic effects of cinematic and reading-based dramas. In a mediation analysis, improvements in general health and lowered levels of depression were found for cinematic drama exposure with self-reflection, compared to reading-based drama exposure with self-reflection; this relationship was mediated by identification and emotional self-efficacy. Our results provide preliminary evidence for the therapeutic benefits of cinematic human drama through an altered conception of catharsis. Implications for using media to facilitate emotional fitness and meaningful entertainment are discussed.
2
Ma, Liwen. "Transforming Paper into a Therapeutic Drama Stage: A Case Study of a Chinese Primary Student on the Use of Drawing in a Drama Counseling Model". Creative Arts in Education and Therapy 9, n.º 2 (22 de diciembre de 2023): 164–79. http://dx.doi.org/10.15212/caet/2023/9/12.
Texto completoResumen
This article presents a case study of how drawing paper can be integrated into a therapeutic drama stage. It will propose drawing in drama counseling as a new model of integral drama-based pedagogy. The article illustrates the connection of drawing, drama, and counseling. The model was developed by the author using the methods of integral drama-based pedagogy to counsel a Chinese primary school student who was angry about rejection and exclusion by his classmates. The study demonstrates how the student could use drawing paper to become his drama stage and how a student acted out a drama by drawing on that paper stage. The case study describes a method that could lead to a new therapeutic model in individual mental health counseling allowing for emotional catharsis, expression, and release. The article especially discusses the drawing in drama counseling model from Wu-wei of the Chinese culture.
3
Atsmon, Amir y Susana Pendzik. "The clinical use of digital resources in drama therapy: An exploratory study of well-established practitioners". Drama Therapy Review 6, n.º 1 (1 de abril de 2020): 7–26. http://dx.doi.org/10.1386/dtr_00013_1.
Texto completoResumen
This exploratory study examines the clinical use of digital resources in contemporary drama therapy by interviewing seven leading practitioners from around the world. The study surveys the digital resources utilized by both therapists and clients; how these resources are used; and how such use relates to drama therapeutic goals, values and techniques. Most notably, interviewees mentioned using Skype for therapy and/or supervision; the use of smartphones to cross the boundaries of the session (introduce or send out material); and the gaze of the camera as a fantasized audience. Interviewees commented on the therapeutic, dramatic, relational and ethical significance and impact of these practices, as well as on the ongoing digitization of society at large and its effects on their practice. The article further delineates the challenges evident in their experiences and proposes theoretical directions for further exploration.
4
Hercigonja Salamoni, Darija y Ana Rendulić. "Drama techniques as part of cluttering therapy according to the verbotonal method". Logopedija 7, n.º 1 (30 de junio de 2017): 24–29. http://dx.doi.org/10.31299/log.7.1.4.
Texto completoResumen
Cluttering is a syndrome characterised by a wide range of symptoms. It always contains one or more key elements such as abnormally fast speech rate, greater than expected number of disfluencies, reduced intelligibility due to over-coarticulation and indistinct articulation, inappropriate brakes in speech pattern, monotone speech, disturbance in language planning, etc. Drama activities and storytelling share a number of features that allow spontaneous use during therapy process and detachment from real-time, concrete place or true identity, and therefore allow unprecedented freedom in choosing and creating speech-language expressions. The use of drama elements and techniques in cluttering therapy enables better focusing of the child during therapeutic process and better integration of acquired speech/language skills and knowledge. During therapy, we should be aware to correct the patient both in speech production and in the perception of his/her own speech. From the aspect of speech pathology, it is important how auditory and visual information during patient’s production influence on his/her overall perception of his/her own speech. For all those reasons, it is especially important to choose the appropriate story or event and to present it in a way that ensures good interaction during therapy. The presentation of dramatisation is the ideal tool for stimulation and development of different speech activities, with focus on fluency, correct articulation and other elements that make up values of spoken language. Drama techniques can be implemented trough drama activities or storytelling. When working with children, storytelling and drama techniques can be integrated and combined in multiple ways in order to provide robust and flexible transition toward a structured language.
5
Hougham, Richard. "Track the Deer, Catch it and Then Let it Go". Dramatherapy 27, n.º 3 (octubre de 2005): 8–14. http://dx.doi.org/10.1080/02630672.2005.9689663.
Texto completoResumen
The following paper is based on research into a dramatic model of group supervision that was also informed by ideas from Jungian psychology. Postgraduate dramatherapy students were given the opportunity to reflect, embody and dramatise what they considered to be ‘significant moments’ from their placement practice over a period of ten weeks. A semi-structured interview was then carried out with each of the nine participants. Analysis of their responses identified two emerging themes −1) a diversity of perspectives on the same session, where students who participated in the same work had different experiences and 2) working with the drama and the body in supervision offered the chance to reconnect with and investigate body-based experiences from practice. Through continuing to use the art form of drama in supervision (in particular role-playing the client), it seemed that qualities and nuances of the session and the therapeutic relationship could be explored. In particular, some of the unconscious communication between therapist and client seemed to be exposed through working with the body and drama.
6
Qhobela, Lireko. "Embracing dialogue as breathing: Exploring drama therapy as a tool for facilitating uncomfortable historical conversations". Drama Therapy Review 9, n.º 1 (1 de abril de 2023): 9–22. http://dx.doi.org/10.1386/dtr_00117_1.
Texto completoResumen
The article reflects on the use of story and poetry as tools that facilitated a conversation related to uncomfortable historical conversations. It uses the performance of Krotoa, Eva van die Kaap as a starting point for unpacking the ways in which the play functioned as an extension of a drama therapy process on conversations about historical trauma. The Groote Kerk served as a symbolic meeting place as well as a way of thinking about therapeutic spaces for reparative dialogues.
7
Goździewicz-Rostankowska, Agata. "A Review of Selected Research on the Use of Art Therapy in Working with Refugee and Immigrant Children". Annales Universitatis Mariae Curie-Skłodowska, sectio J – Paedagogia-Psychologia 36, n.º 1 (13 de junio de 2023): 63–72. http://dx.doi.org/10.17951/j.2023.36.1.63-72.
Texto completoResumen
This article presents an overview of research on the importance and effectiveness of art therapy methods in immigrant and refugee children. The literature on the subject indicates an increased risk of problems in the area of both mental and physical health in immigrants and their children. Refugees and their children are in a particularly difficult situation because, in addition to the challenges of adapting to a new place of settlement, they also experience trauma related to the country of origin. Among the therapeutic interactions and work with refugee and immigrant children, art therapy has a special place. The article adopts a broad definition of it, according to which it is “all forms and methods of therapeutic assistance in which various fields of art are used: painting, drawing, literature, music, dance, drama”. A review of studies examining the importance of art therapy in the context of improving psychological functioning in various age groups of immigrant and refugee children is presented. It turns out that the therapeutic impact with the use of art may be important in the context of coping for dealing with the problems experienced by these groups of people.
8
Williams, Britton. "The R-RAP revisited: Current conceptualizations and applications". Drama Therapy Review 6, n.º 2 (1 de octubre de 2020): 183–201. http://dx.doi.org/10.1386/dtr_00027_1.
Texto completoResumen
Existing research finds that how the client feels towards the therapist and the therapist towards the client will have a direct impact on the therapeutic relationship. Yet little has been written about how to understand and process the therapist‐client relationship in drama therapy. Therefore, the purpose of this article is to illustrate how a relational perspective and use of the Relational-Roles Assessment Protocol (R-RAP) may be implemented in the therapist’s embodied supervision and collaborative therapeutic processes. This article extends the existing R-RAP by providing how-to steps and case illustrations for applying the R-RAP to supervisory settings and in collaboration with clients. The article ends with emergent ideas and considerations for future applications.
9
Polínek, Martin Dominik y Igor Vachkov. "Improving the quality of training drama therapy students through the metaphors of experiencing fear". SHS Web of Conferences 98 (2021): 01005. http://dx.doi.org/10.1051/shsconf/20219801005.
Texto completoResumen
The present study is aimed at introducing effective psychological instruments the authors have been using in a therapeutic interaction with people (children, adolescents, and youth) with different problems for a long time in the educational process. The main focus of the study is the metaphors and motivation of fear and anxiety the use of which in the process of providing psychological assistance to students can improve the quality of the educational process and educational influences on them since these tools allow students and teachers to safely (due to the metaphorical distance) address sensitive topics that often present the source of anxiety and fear in students while neglecting these topics often hinders the creation of a safe learning environment. Metaphors are actively used in a variety of psychotherapeutic approaches although very little attention is paid to their implementation in the educational environment. The goal of the present study is to disclose the opportunities of using metaphors of experiencing fear in working with university students. The proposed hypothesis states that the implementation of metaphors of experiencing fear in work with university students will contribute to the improvement of their self-assessment of subjective well-being. The study presents the analysis of the results of focus group studies conducted during experiments with the students of the “Drama Therapy” specialty at the Palacký University of Olomouc in the Czech Republic. With the use of the grounded theory method, it is demonstrated that work with metaphors of experiencing fear leads to becoming aware of self-support mechanisms, processing suppressed emotions, relaxation, inner liberation, and the activation of personal resources. These results open up prospects for the active use of metaphorization of various (including negative) experiences in providing psychological assistance to students.
10
Yang, Juan. "Healing in Antonin Artaud's Theatre". Highlights in Art and Design 4, n.º 1 (28 de agosto de 2023): 130–32. http://dx.doi.org/10.54097/hiaad.v4i1.12084.
Texto completoResumen
Antonin Artaud was a distinguished French director, actor, theatre theorist and poet. Artaud's reputation in the theatre world is fundamentally due to his promotion of a series of "anti" theatre theories including, but not limited to, the "theatre of cruelty", which highlights the aesthetics of the therapeutic aspects of Artaud's theatre. The use of theatre as therapy for self-awareness and improvement of the individual's physical and mental condition is a value that has been in play since its emergence, and Artaud's influence on the development of theatre therapy is mentioned in the book Drama Therapy. It is conceivable that the healing presence of Artaud's theatre is obvious and essential. in this paper, we will take Artaud's theatre theory as the main body of discussion, and take three key words-"language, metaphysics, and cruelty" as the starting point to elaborate the healing properties of Artaud's theatre.
Tesis sobre el tema "Drama – Therapeutic use"
1
Van, Schalkwyk Mareth. "Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors". Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2534.
Texto completoResumen
Thesis (MDram (Drama))--University of Stellenbosch, 2005.In Britain provision is made for students with a low Basic Skills level (literacy and numeracy) to continue with their post-GCSE education in a low level vocational course. These low level courses aim to teach students basic, life and vocational skills necessary to progress to the next level. This study aims to find a pedagogy which is suited to the needs of these marginalised students and transforms them from spectators into spect-actors. Two programmes were designed, implemented, managed and measured by this study in order to find the pedagogy best suited to the needs of these students. Programme 1 was based on ideas by the educationalists Kolb, Petty, Honey and Mumford; and aimed to empower students with the basic and life skills necessary for progression. Programme 1 failed as the mostly narrative pedagogy was associated with a similar pedagogy used in schools. Assessment methods were unsuitable and the course paid more attention to the needs of the group than the needs of the individual. Programme 2 aimed to actively involve students in the learning of skills essential to progression and was based on theatrical techniques. Augusto Boal’s Theatre of the Oppressed techniques, especially Forum Theatre, formed the basis of the student-centred programme. Boal’s interactive theatre techniques, together with ideas taken from Aristotle, Artaud, Brecht, Heathcote and Freire formed the pedagogy of an interactive course where the focus fell on the needs of the individual student. This study found that Programme 2 was successful. Students took to the taskbased interactive course where all solutions to problems were found by means of active investigation, no theorem was learned without application and no action took place without a purpose. Students changed from spectators into spectactors with a view that the world is not stagnant but transformable. Achievement and success rates back up the findings. The interactive pedagogy using theatre techniques to teach can be applied across the curriculum and it is suggested that such courses should run alongside main stream academic courses to accommodate the learning of all students.
2
Chalk, Beryl. "Empowered narratives : drama praxis and the archetype as a means to authentic voice for women". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/897.
Texto completoResumen
This thesis contests the status of gender as a social construct by considering how women develop a personal ethnography when engaging in drama and expressive arts practices. There is no known research on drama praxis as a signifier to Australian women's identity, a major focus of this work will be, 'Who has the authority over women's expression and means of expression? Who has the authority to interpret the experience? Who has authority over other people's experience?' This thesis addresses the internalised- oppression which refers to the process by which women internalise the 'fictionalised' reality prescribed to them as women marked by the binary construct of gender duality, i.e., male/female, in which the male as the ascendant partner in the duality has the power to mark those on the descendant as 'other' to the norm. The limits of 'knowing' only through positivist science will be extended into multi modes of knowing and within the drama praxis the reflective processes enabled by personal engagement will be investigated within the personal, universal and analogous modes. This thesis, being written from a postructuralist perspective, is a means of giving the study group authentic voice. It proceeds from an explicit framework engaging archetype as a means to modify consciousness and is an invitation: a "call to action".
3
Koekemoer, Kaye. ""... we must not hold our fears..." : a case study exploring the use of group dramatherapy as a therapeutic intervention with children and adolescents living in poverty /". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1758.
Texto completo
4
Guli, Laura Ann. "The effects of creative drama-based intervention for children with deficits in social perception". Thesis, Full text, 2004. http://www.lib.utexas.edu/etd/d/2004/gulil33014/gulil33014.pdf#page=3.
Texto completo
5
Schiff, Heather. "This ain't a circle : the use of drama and movement therapy in providing containment to adolescents with learning difficulties within a group therapeutic intervention : a case study exploration". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7405.
Texto completoResumen
Bibliography: leaves 76-92.This dissertation attempts to illustrate by way of clinical material a method of working therapeutically using drama and movement therapy with a group of adolescents with learning difficulties. The study is located within a theoretical context of an understanding of the emotional aspects of learning While many interventions with learning difficulties stress the cognitive dimension of these problems, this study explores their emotional basis and consequences. Bion's theory of thinking and the Container-Contained model of early object relations is used to formulate the idea that the adolescents participating in the study had not yet internalised an object capable of knowing, making it difficult for them to think about themselves and to express verbally their needs and feelings. An important aspect of the therapeutic function, that of providing a container within which to hold feelings and make thoughts thinkable, is thus explicated. It is further noted that the Way in which adolescents communicate their feelings in therapy is frequently beyond words, and ascertained by way of symbolic expression, non-verbal responses and projective-identification processes. This assumption is actively engaged by establishing drama and movement therapy as the primary therapeutic mode in the work. The potential of the creative arts therapies in assisting these young people in negotiating their difficulties is explored. Through an analysis of case material, the dissertation explores how difficult feelings associated with learning problems can be enacted, named and recovered for reflection and expression Both the notion of the therapist as a container for the adolescents' feelings, as well as the potential usefulness of drama and movement as 'concrete' containers for the exploration of internal and external experience, are examined.
6
Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare". Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.
Texto completoResumen
Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of
arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth
and they form the case studies of this research.
Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they
become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and
implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they
will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.
7
Lotter, Marensia. "An ecosystemic approach to psychodrama : aesthetics and pragmatics". Diss., 1994. http://hdl.handle.net/10500/18543.
Texto completoResumen
This study propagates a move away from the dominant practices of
psychodrama with its emphasis on catharsis and insight as the main components of a therapeutic experience.
It proposes a systemic orientation to psychodrama where protagonists
may encounter the circularity of the systems in which they are embedded and through this process encounter new meaning.
Case studies are presented which exemplify an evolutionary process of
creating what the author refers to as "ecosystemic psychodrama". This
ecosystemic psychodrama is based on second-order cybernetics and what is aimed for is that as a therapy it should present something of the balance between the aesthetic and pragmatic views of therapy that Keeney (1983a) describes as complementary.Psychology
M.A. (Clinical Psychology)
8
Lötter, Marensia. "An ecosystemic approach to psychodrama :". 1994. http://hdl.handle.net/10500/17236.
Texto completo
9
Kersh, Yael Sara. "Inner child, can we play? An ethnographic narrative enquiry of personal play histories". Thesis, 2017. https://hdl.handle.net/10539/24433.
Texto completoResumen
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (Drama Therapy) November 2017The research consists of a practical arts-based research component and a research report that surveys the practice. This document serves as the written element of the research and investigates the key theoretical standpoints, methodologies applied and creative outcomes. The research aimed to explore the dynamics of adults and play within Drama Therapy by investigating the relationship between six adult women and their personal play histories. It questioned what play meant to the individual and invited her to share her most memorable playful moments through various forms of expression in a number of individual interview-discussions. Through a practical arts-based research approach, an ethnographic narrative inquiry unfolded about women, play, childhood memory and present adulthood. The research took these shared narratives and presented them back to the six participants through various playful methods. With the use of methodologies such as inter-subjectivity, playful listening, narrative enquiry and Playback Theatre, the research offered a series of representational reflections of the shared stories. The creative outcomes were presented in a storybook representation which used imagery and poetic rhyme to document each narrative, a stop-motion film that used moving image and voice, and an presentation-installation that invited each woman to engage with her playful inner-self reflected back to her. The report is written with these playful elements which attempt to mirror the creative representational outcomes, inviting the reader to access his or her playful self. Thematically, three key factors presented themselves throughout the five-stage research process. These include the emotional experience associated with play, the notion of an inner-child or childhood and play within context. All three elements are discussed in the research report, with the use of the contextual factor symbolised by road signs to represent the intersectionality of play and its relationship to the individual. The research presents a number of key contributing factors to the discussion of adults and play in Drama Therapy. It attempts to explore alternative ways of delving into therapeutic process while respecting individual perspectives and personal narratives. It highlights the fundamental value of play within a drama therapeutic paradigm and how the notion of play and play memories contribute to the adult self. It also affirms the role of arts-based practice as a powerful tool for validation and witnessing of clients.
XL2018
10
Brooks, Dale Theodore. "The meaning of change through therapeutic enactment in psychodrama". Thesis, 1999. http://hdl.handle.net/2429/9835.
Texto completoResumen
The purpose of this study was to understand the meaning of change through therapeutic
enactment in psychodrama. Existential and hermeneutic phenomenology conducted from the
perspective of a dialectic between storied narrative and thematic analysis was used to investigate
the essential meaning of the experience. Eight co-researchers who had experienced significant
change through therapeutic enactment in psychodrama were interviewed in depth. Transcripts
from these interviews were transposed into narrative form in order to straighten the story of
change through enactment in a before, during, and after sequence. These eight individual
narratives were validated by the co-researchers. An independent reviewer checked each narrative
against the original transcript, video tapes of the enactments, and comments of each co-researcher
for trustworthiness. Each validated narrative provided a rich description of the lived experience
of change through therapeutic enactment.
In addition, fifty-nine (59) essential themes were formulated from the individual narratives:
Fourteen (14) in the planning stage, twenty-four (24) in the enactive stage, and twenty-one (21) in
the reflective, or integrative stage, of the enactment process. These themes were then woven into
a common story representing the pattern and meaning of change through therapeutic enactment
for this group of co-researchers. Finally, notations made during the transposing of the transcripts
into personal narratives, formulation of the essential themes, and construction of the common
story were used to develop a theoretical story of change through therapeutic enactment, as a final
level of hermeneutic interpretation. This theoretical story was then presented in summary form as
a thematic sequence of multi-modal change processes representing a model of change through
therapeutic enactment.
The results of this study suggested numerous theoretical and technical implications.
Foremost among theoretical implications was the suggestion that Tomkins (1992) script theory of
affect may best illuminate the effects and processes of psychodrama and enactment. This study
also had implications for interactional theories of development, contemporary psychoanalytic
theories of interpersonal functioning, theories of moral development, theories of dream
functioning, and ethological theories of myth and ritual.
The results of this study also suggested a number of additional qualitative and comparative
outcome studies for future research.
Libros sobre el tema "Drama – Therapeutic use"
1
Phil, Jones. Drama as therapy: Theory, practice, and research. 2a ed. Hove, East Sussex: Routledge, 2007.
Buscar texto completo
2
Grainger, Roger. Drama and healing: The roots of drama therapy. London: J. Kingsley Publishers, 1990.
Buscar texto completo
3
Đurić, Zoran. Psychodrama: A beginnerʹs guide. London: Jessica Kingsley Publishers, 2006.
Buscar texto completo
4
Røine, Eva. Psychodrama: Group psychotherapy as experimental theatre : playing the leading role in your own life. London: Jessica Kingsley Publishers, 1997.
Buscar texto completo
5
Landy, Robert J. Essays in drama therapy: The doublr life. London: Jessica Kingsley Publishers, 1996.
Buscar texto completo
6
Landy, Robert J. Essays in drama therapy: The double life. London: Jessica Kingsley, 1996.
Buscar texto completo
7
1949-, Mitchell Steve, ed. Dramatherapy: Clinical studies. London: Jessica Kingsley Publishers, 1996.
Buscar texto completo
8
Dunne, Pam Barragar. Drama therapy activities for parents and children: An exercise handbook. 2a ed. Encino, Calif: Center for Psychological Change, 1990.
Buscar texto completo
9
Matisson, Maurice David. Les mises en scène du théâtre et du psychodrame: L'injonction spectaculaire. Paris: Harmattan, 2000.
Buscar texto completo
10
Bielańska, Anna. Teatr, który leczy. Kraków: Wydawn. Uniwersytetu Jagiellońskiego, 2002.
Buscar texto completoCapítulos de libros sobre el tema "Drama – Therapeutic use"
1
"Creativity and Autism Spectrum Disorder". En Advances in Media, Entertainment, and the Arts, 239–72. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-7840-7.ch009.
Texto completoResumen
This chapter considers the theme of creativity in people with autism. It briefly investigates the relationship between autism and creativity, focusing on geniuses and autism. Following from this, an educational experience designed to enhance the socio-communicative skills of autistic people is presented and discussed. This experience demonstrates that a creative approach based on social stories, drama, and programmable toy robots is not only able to stimulate the communication skills of autistic people, but also their creativity. From the experience, it also emerged that the combined use of digital technologies, programmable toy robots, and creative practices based on social stories and drama could open new perspectives for therapeutic interventions in the autism scope.
2
Kress, Victoria E., Julia Whisenhunt, Nicole A. Stargell y Christine A. McAllister. "Experiential Therapies and Nonsuicidal Self-Injury". En The Oxford Handbook of Nonsuicidal Self-Injury, C58P1—C58S19. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197611272.013.58.
Texto completoResumen
Abstract Nonsuicidal self-injury (NSSI) is widely considered to be a form of emotion regulation. Experiential approaches generally address the here and now rather than the past or the future, and they focus on clients processing emotions and behaviors in the current moment. There are a number of experiential techniques that may be helpful when counseling those who self-injure. Expressive arts activities (e.g., visual arts, music, dance, writing, and drama) may be helpful techniques to use in facilitating experiential awareness when counseling those who self-injure. Additionally, guided imagery is a system of visualization that may be used to promote relaxation and allow clients to imagine a future that does not include NSSI. Experiential therapies that focus on relationships are well suited for NSSI. Emotion-focused therapy addresses insecure attachment patterns and increasing emotional regulation. Accelerated experiential dynamic psychotherapy (AEDP) is helpful in addressing trauma and dissociation; clients mindfully reflect on the present moment and make healthier choices in real time. Enhancing self-compassion in those who use NSSI may also be helpful. Additionally, mindfulness techniques may facilitate emotion regulation and promote acceptance and change. The emotional freedom technique (EFT) blends cognitive therapy, behavioral exposure, and acupressure to help clients reprocess their thoughts and feelings. Eye movement desensitization and reprocessing (EMDR) is a therapeutic approach to help clients work toward changing maladaptive thoughts. Resource development and installation (RDI) is a method for clients to recognize adaptive coping mechanisms and put them into practice.
3
Zecher, Jonathan L. "A Physician, a Judge, and a Shepherd Walk into a Monastery…". En Spiritual Direction as a Medical Art in Early Christian Monasticism, 294—C9.P69. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198854135.003.0012.
Texto completoResumen
Abstract This final chapter returns to the Ladder, but also takes in John Climacus’ other work, To the Shepherd. In these, John multiplies images for his spiritual director, favoring especially those of physician, judge, king, and shepherd. John uses these different images to explore both degrees of coercion in spiritual direction and different contexts for it. He is especially interested in expanding and nuancing the therapeutic hierarchy on display in church-order literature by means of a detailed analogy with a physician’s toolkit and expertise in dosimetry. The director learns to alternate harsher and gentler disciplines as well as to reserve more painful ones for more serious or persistent problems. These nuance John’s description of a monastery’s abbot as a king dispensing orders, while the regal imagery locates practices of confession and penance in a disciplinary organization. At other points, John describes private confessional encounters in medical terms, drawing especially on the manners of physicians and patients in intimate settings. For more public confessions, the same relationship is described through judicial imagery as John develops manners appropriate to that profession. Like Cassian and Basil, he deals with intransigent monks for whom he recommends amputation, in contrast to the “prison” he gleefully imagines in the Ladder’s Fifth Rung. Finally, John reconceives the monastic space as a clinic and its daily activities as a drama through which hidden realities come to light and the sick find healing.